On the back of the amp is an XLR recording output with cabinet emulation, Level control, and ground-lift switch, as well as dual 1?4″ effects loop jacks and a speaker-out jack with impedance selector. Its cabinet uses heavy-duty 3?4″ Baltic birch, a steel chassis, double-sided printed circuitboards, and a perforated steel cage to house the power tubes. There’s also an adjustable Boost circuit accessed via the footswitch.īuild quality on our review ’36 is very good. The Lead channel is higher-gain, while the Rhythm channel is better for a crunchy overdrive or clean tones. Channels are switched via mini-toggle or the three-button footswitch, and the Rhythm/Lead channel indicators are backlit, so you can tell at a glance which is active. And each channel has Master Volume and Gain controls, allowing the user to set each for overdrive or clean.
The exception is its line of tube combos, the ’36 Coupe and the ’72 Coupe, with all-tube circuits and a bit of that cool tuck-and-roll vibe in red, blue, or charcoal sparkle, combined with black tolex, retro-look chrome, and steel handles.Įach amp uses two (’36) or four (’72) 6L6 power tubes, four 12AX7 preamp tubes, spring reverb, top-mounted controls, custom Eminence speakers, and two channels with a shared three-band EQ and individual Bright switches. Today, most of the company’s new amplifiers are solidstate and devoid of tuck and roll covering. In the mid 1960s, Kustom amps were popular for their cool tuck-and-roll vinyl covering, and their solid tones.
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